【正文】 t in danger of being lost. Those details won39。ll e back to this point in a few minutes. Student: Um... I, I thought that a fairy tale was just a written version of an oral folk tale. Professor: Well, not exactly, though that is how many fairy tales developed. For example, in the late 18th century, the Grimm Brothers traveled throughout what39。s a strong connection between these two genres, these two types of stories. In fact, many fairy tales started out as folk tales. So, what39。s where chemistry es in. You39。s authentic? Okay. Think about the scientific process. You39。m interested in the art and to me it39。s ing out so ... I39。s like, um, well, every element has, what we call, its own spectral signature. If we can read that signature, we can identify the element. And that39。s got a problem: she39。re trying to verify that39。s not invasive. You don39。s another mon element, royalty a prince or princess. And fairy tales all seem to take place in a location that39。s houses were like, ur, whether they39。s always there in a book, waiting to be discovered, again and again. Another interesting difference involves the change in audience. Who the stories are meant for? Contrary to what many people believe today, folk tales were originally intended for adults, not for children. So why is it that fairy tales seem targeted toward children nowadays? 。t know anything more about them. But in fairy tales, people no longer have to remember plots. They39。s local difference. And that39。t discovered until the 18th century. And since Rembrandt lived during the 17th century, we know he couldn39。s style. You39。s e across this painting that appears to be an original let39。s talk about Spectroscopy a little now just to cover the basics. What is Spectroscopy? Well, the simplest definition I can give you is that Spectroscopy is the study of the interaction between matter and light. Now, visible light consists of different colors or wavelengths, which together make up what39。s all about. But, let39。s say a museum curator es to you with a problem. She39。ll need to make a list of characteristics the painting would have to have to be a Rembrandt. Then you have to discover whether the painting in question has those characteristics. So first of all, you?ll need to know the techniques Rembrandt used when he applied paint to canvas his brushstrokes, how thickly he applied his paint. So you?d need to work with an art historian who has expert knowledge of Rembrandt39。s in those pigments, learn their position, and that requires lab work – detective work really in a word, Spectroscopy. So, how do we use Spectroscopy? Well, we put an infrared microscope – a spectroscope on tiny tiny bits of paint. And using ultraviolet light we can see the spectral signature of each ponent part of the pigment. Then we pare these signatures with those of particular elements like zinc or lead, to determine what the pigment was made of. So, you can see why this type of analysis requires a knowledge of the history of pigments, right? How and when they were made? Say we determined a pigment was made with zinc, for example. We know the spectral signature of zinc. And it matches that of the paint sample. We also know that zinc wasn39。s right. There39。s like the difference in your language depending on whether you are talking to someone, or writing them a letter. Second, when an orally transmitted story is written down, an authoritative version with a recognized author is created. The munal aspect gets lost. The tale no longer belongs to the munity. It belongs to the world, so to speak. Because of this, elements like place and time can no longer be tailored to suit a particular audience. So they bee less identifiable, more generalizable to any audience. On the other hand, descriptions of characters and settings can be developed more pletely. In folk tales, characters might be identified by a name, but you wouldn39。t repeated by each generation, it may be lost for all time. But with a fairy tale, it39。re small cabins or grand palaces. And it39。s nowhere and everywhere at the same time. Professor: What39。t have to remove big chips of paint to do your analysis, which is what other methods require. All you do is train the microscope on tiny flecks of paint and analyze them. Now a word or two about restoration. Sometimes original art works appear questionable or inauthentic because they?ve had so many restorers add touchup layers to cover up damage, damage from the paint having deteriorated over time. Well, spectroscopy can review the position of those touchup layers too. So we can find out when they were applied. Then if we want to undo some bad restoration attempts, we can determine what kind of process we can use to remove them to dissolve the paint and uncover the original. Lecture 4 Literature Narrator Listen to part of a lecture in